Giovanni Marchini Camia Movie Reviews & Previews - Rotten Tomatoes

Giovanni Marchini Camia

Giovanni Marchini Camia
Giovanni Marchini Camia's reviews only count toward the Tomatometer when published at the following Tomatometer-approved publication(s): Film Comment Magazine, Sight and Sound, The Film Stage

Movie Reviews Only

Rating T-Meter Title | Year Review
95% The Favourite (2018) No amount of ostentation proves sufficient to spruce up the insipid narrative, which strains to fulfil its two-hour running time as if it were a requirement of seriousness.‐ Sight and Sound
Read More | Posted Sep 8, 2018
5 84% Non-Fiction (2018) Non-Fiction is a portrait of the present at once attuned to the zeitgeist and dated, a contradiction that often inhibits the film's narrative momentum and ends up restricting the scope and impact of its critique.‐ Sight and Sound
Read More | Posted Sep 8, 2018
60% Our Time (Nuestro tiempo) (2018) A soul-searching work of scorching honesty that functions both as an anatomy of love and marriage, and as an evisceration of masculinity.‐ Sight and Sound
Read More | Posted Sep 7, 2018
71% In My Room (2018) Although its critique of modern society couldn't be more damning, In My Room is peppered with delightful comic touches.‐ Sight and Sound
Read More | Posted May 24, 2018
B+ 59% Under the Silver Lake (2018) It's a fantasy, yes, but it's not toxic like those found in many of the revered texts that inspired it. Perhaps Mitchell's real sin was having the temerity of amending the canon.‐ The Film Stage
Read More | Posted May 17, 2018
100% Ash Is Purest White (2019) Jia has dedicated his career to scrutinising the complexities of the culture to which he and his films belong and it seems likely that in revisiting chapters from his filmography, he wished to address the masculine facets of his own work.‐ Sight and Sound
Read More | Posted May 13, 2018
100% Dead Souls (2018) The extreme length of Wang's film serves to demonstrate the innocence of the victims and the culpability of the system, as the accounts corroborate one another through sheer repetition, accumulating into a vehement and incontrovertible j'accuse.‐ Sight and Sound
Read More | Posted May 12, 2018
D 61% Everybody Knows (Todos lo saben) (2019) Overwriting has been the constant weakness in Farhadi's filmmaking, but here the writer-director truly outdoes himself.‐ The Film Stage
Read More | Posted May 11, 2018
90% An Elephant Sitting Still (Da xiang xi di er zuo) (2018) The film's images extricate beauty from the most dismal of situations and together with his actors, Hu manages to evoke emotions so deeply felt and overwhelming that they compensate for any narrative contrivances.‐ Sight and Sound
Read More | Posted Mar 8, 2018
91% Transit (2019) A mournful, urgent appraisal of the contemporary European psyche.‐ Sight and Sound
Read More | Posted Feb 20, 2018
100% Infinite Football (2018) The premise may sound dry on paper, but Porumboiu's execution renders it irresistible.‐ Sight and Sound
Read More | Posted Feb 16, 2018
84% The Square (2017) The centrepiece sequence, which occurs about halfway through, is a veritable tour de force.‐ Sight and Sound
Read More | Posted Jun 8, 2017
90% Claire's Camera (La caméra de Claire) (2018) The direction in Claire's Camera is less elaborate, reflecting the on-the-fly conditions of its production. The film's pleasures lie more in the improvisational feel of the dialogues and the charming chemistry between the characters.‐ Sight and Sound
Read More | Posted Jun 6, 2017
A 88% You Were Never Really Here (2018) One of the most ferocious indictments of systematic abuse of power and gender violence ever projected on a screen.‐ The Film Stage
Read More | Posted May 27, 2017
B 90% Claire's Camera (La caméra de Claire) (2018) There's far worse ways to spend 69 minutes than in the company of his characters as they amble through sunny Cannes idly chatting about love and life, disappointment and fulfillment.‐ The Film Stage
Read More | Posted May 27, 2017
B+ 77% A Gentle Creature (2017) Though not as successful as its predecessor, Loznitsa's latest nonetheless confirms the director's place of honor amongst cinema's most vociferous critics of Putin's kingdom.‐ The Film Stage
Read More | Posted May 25, 2017
95% Western (2018) Free of affectation and distinguished by a generosity and sincerity exceedingly rare in cinema, Western's poignant celebration of human resilience is nothing short of spectacular.‐ Sight and Sound
Read More | Posted May 24, 2017
C 96% 24 Frames (2018) 24 Frames, tragically, is not the swan song he deserves.‐ The Film Stage
Read More | Posted May 23, 2017
C- 79% The Killing of a Sacred Deer (2017) One can't help but be disgusted by whoever took the time to think up atrocities this elaborate, never mind realizing them with such evident glee. ‐ The Film Stage
Read More | Posted May 22, 2017
A 86% Okja (2017) Okja represents a synthesis and an upgrade - in scale as well as quality - of the director's previous outings, confirming him as one of the finest contemporary craftsmen of intelligent, ambitious blockbusters‐ The Film Stage
Read More | Posted May 20, 2017
C+ 94% Loveless (Nelyubov) (2018) The film's title may refer to the protagonists' marriage and its symbolic connotations, but it's also a perfect description of Zvyagintsev's treatment of his subject matter.‐ The Film Stage
Read More | Posted May 18, 2017
A- 51% Ismael's Ghosts (Les fantômes d'Ismaël) (2018) A work whose pleasures and complexities can't be fully grasped or appreciated in a single viewing.‐ The Film Stage
Read More | Posted May 17, 2017
B 73% Death in Sarajevo (2016) What does emerge, and forcefully, is the impression of a nation with an intensely conflicted psyche haunted by the many traumas of the past, drifting in a seething present... and looking towards Europe with a mixture of hope and deep-seated skepticism.‐ The Film Stage
Read More | Posted Mar 1, 2017
B+ 95% Creepy (Kuripi: Itsuwari no rinjin) (2016) [Kurosawa's] latest, which sees him return to the realm of horror after excursions into more arthouse territory, certainly lives up to its name and has a lot of fun doing so.‐ The Film Stage
Read More | Posted Oct 18, 2016
C 94% Fire at Sea (Fuocoammare) (2016) While Rosi certainly manages to jolt the viewer out of complacency, his strategy towards this end is so ethically dubious as to border on repellent.‐ The Film Stage
Read More | Posted Oct 2, 2016
C- 8% Endless Night (Nadie quiere la noche) (2015) Even more grinding than the plot's predictability, however, is the film's depiction of the Inuit people.‐ The Film Stage
Read More | Posted Aug 26, 2016
A 91% Elle (2016) Elle would be unimaginable without Huppert, who delivers a performance of such virtuosity that she turns what is essentially a raving sociopath into one of the most alluring protagonists in recent memory.‐ The Film Stage
Read More | Posted May 25, 2016
B- 48% Dog Eat Dog (2016) Taking the trashy gusto exhibited in The Canyons to whole new extremes, Schrader goes full exploitation for Dog Eat Dog 's first act.‐ The Film Stage
Read More | Posted May 24, 2016
B 95% Graduation (Bacalaureat) (2017) A well-acted and efficiently directed but schematic rehash of themes that Mungiu and his fellow new-wavers have expounded time and again over the last decade.‐ The Film Stage
Read More | Posted May 22, 2016
B 81% Risk (2017) Risk offers few new insights. What it does offer, as did Citizenfour, is a corroboration of our paranoia. ‐ The Film Stage
Read More | Posted May 20, 2016
D 57% The Neon Demon (2016) The viewer is left to stare at a ponderous and incoherently stitched-together succession of vapid images for what feels like an eternity until the carnage starts.‐ The Film Stage
Read More | Posted May 20, 2016
B- 94% Gimme Danger (2016) Enjoyable and informative, [but] nevertheless confirms that the director should stick to fiction.‐ The Film Stage
Read More | Posted May 19, 2016
C+ 44% It's Only the End of the World (Juste la fin du monde) (2016) It's beyond dispute that it takes talent to make a film this acutely, relentlessly distressing. Why anyone would want to put themselves through such an ordeal, however, is a much more equivocal matter.‐ The Film Stage
Read More | Posted May 19, 2016
B 79% Personal Shopper (2017) As per Assayas' custom, the film is chock-full of fascinating themes and ideas and his indisputable flair as a director makes it compulsively watchable.‐ The Film Stage
Read More | Posted May 17, 2016
A 96% Paterson (2016) Its restrained aesthetic and Driver's sublime, understated performance render it the director's most recognizably human and poignant film.‐ The Film Stage
Read More | Posted May 16, 2016
B+ 93% Neruda (2016) As radical a reinvention of the biopic as Todd Haynes' I'm Not There, Neruda is Larraín's most conceptual and also his most demanding film yet.‐ The Film Stage
Read More | Posted May 16, 2016
B 89% After Love (L'économie du couple) (2017) After Love is an unusually moderate film by Lafosse's standards. While it ultimately lacks some of the vigor of his previous work, it does allow you to leave the cinema without feeling ill, which is also nice.‐ The Film Stage
Read More | Posted May 15, 2016
A 93% Toni Erdmann (2016) One of the most stirring cinematic experiences to come around in a long time.‐ The Film Stage
Read More | Posted May 15, 2016
C 65% Slack Bay (Ma loute) (2017) The most important innovation, and also this film's greatest weakness, is its focus on an upper-class family played by well-known actors.‐ The Film Stage
Read More | Posted May 13, 2016
A- 92% Sieranevada (2016) Puiu's exceptional script foments a burning wish to figure out all the character configurations, conflicts and backstories, ensuring that Sieranevada remains consistently, intensely engaging. ‐ The Film Stage
Read More | Posted May 12, 2016
C+ 70% Café Society (2016) Café Society is a quintessential later-period Woody Allen film. That is to say, it's utterly mediocre.‐ The Film Stage
Read More | Posted May 11, 2016
B- 18% Queen of the Desert (2017) Visually exquisite.‐ The Film Stage
Read More | Posted Feb 24, 2016
A 96% Jafar Panahi's Taxi (2015) Despite the laughs, Taxi never loses touch with the desperate reality at the heart of its formal experiment.‐ The Film Stage
Read More | Posted Feb 24, 2016
C 64% Life (2015) Life turned out to be as bland as its title.‐ The Film Stage
Read More | Posted Feb 24, 2016
A 87% The Club (El Club) (2016) A scathing j'accuse directed at the institution of the Catholic Church that represents his most uncompromising and vociferous film to date.‐ The Film Stage
Read More | Posted Feb 23, 2016
B+ 60% Eisenstein In Guanajuato (2016) Greenaway deliver[s] his most enjoyable film in nearly thirty years.‐ The Film Stage
Read More | Posted Feb 23, 2016
A 97% 45 Years (2015) An incisive and emotionally ensnaring tour de force.‐ The Film Stage
Read More | Posted Feb 23, 2016
A 93% Queen of Earth (2015) Perry's most impeccably constructed and executed yet.‐ The Film Stage
Read More | Posted Feb 23, 2016
C- 75% 13 Minutes (Elser) (2017) 13 Minutes presents a redundant historical "what if" that leaves itself open to charges of relativization.‐ The Film Stage
Read More | Posted Feb 23, 2016
C 94% Our Little Sister (Umimachi Diary) (2016) Kore-eda seems to have bitten off more than he can chew, delivering an uneven and ultimately superficial story of emotional maturation.‐ The Film Stage
Read More | Posted Feb 22, 2016